Ukulele Lady Tutor

Music resources from www.traditionalmusic.co.uk

For pe personal educational purposes only





MAY MA Y SINGHI SINGHI BREEN B REEN

FOR BEGINNERS AND ADVANCED STUDENTS CONTENTS Rudiments Of Music...................................................................................................... 5 Your Ukulele ................................................................... ...................................... 10 10 How To Tune The Ukulele............................................................. .............................. 11 11 The Ukulele Fingerboard ............................................................................................ 12 Notes On The Ukulele Fingerboard............................................................................. 13 How To Hold The Ukulele ............................................................................................. 14 Explanation Of Ukulele Diagrams ............................................................................... 15 Symbols ....................................................................................................................... 16 Common Common Stroke Stroke ........ ..................................................................... ............................... 17 17 Chord Charts..................................................................... .......................................... 18

Learn To Play In Any Key .......................................................................................... .......................................................................................... 26 Strokes ................................................................ ....................................................... 27 27 WOND WONDER ERFU FUL L ONE ONE ............................................................ ........................................... 28 THAT THAT LUCKY LUCKY OLD SUN ........................................ ....................................................... 30 BLUE MOO MOON N .......................................................... ...................................................... 32 SAM, THE OLD ACCORDION ACCORDION MAN .............................................................. . 34 DEEP PURPLE ................................................................................................................ 36 OVER OVER THE THE RAINBOW RAINBOW ................................................................. ............................... 38 BEAUTI BEAUTIFU FUL L GO GOLDE LDEN N STRAN STRAND D ..................................................... ............................... 40 SANTA CL AUS IS COMIN' TO TOWN ................................................................ ........ 42 IF I HAD YOU ............................................................................................................. 44 ALL I DO DO IS IS DRE DREAM AM OF YOU................................................................... .................... 46 MY BLUE HEAVE HEAVEN N ............................................................. ..........................................50 JUST AN ECHO IN THE VALLEY VAL LEY .................................................................... ........ 52 WHEN I GROW TOO OLD TO DREAM .............................................................. ........ 54 M-l-S M-l-S-S -S-l-l-SS-SS-l-P l-P-P -P-l -l ............................................................. .......................................... 55

Glissando Effects .......................................................................................................... .......................................................................................................... 56 Ukulele Solos ........................................................................ ........................................................................ ........................................ 57 GOOD NIGHT NIGHT SWEETHEART SWEETHEART ., ............................................................. ................... 58 UKULELE CHOP STICKS ............................................................................................... 60 ALOHA OE ............................................................ ...................................................... 61 FOREVER AND EVER ................................................................................................... 62 THE WALTZ YOU SAVED FOR ME ................................................................... ........ 64 ON THE BEACH AT WAIKIKI ................................................................ .................... 66 PAGAN LOVE SONG - ...............................................................................................67 MARY HAD A LITTLE LAMB ........................................ ........................................... 68 TWINKLE TWINKLE LITTLE STAR ................................................................................. 69 WHEN THE MOON COMES OVER OVER THE MOUNTAIN ............................................... 70 WHEN IT'S SPRINGTIME IN THE ROCKIES ................................................................. 72

COPYRIGHT 1950

ROBBINS ROBB INS MUSIC CORPORATION 79S


S E VE NT H

A V E N U E

•

NEW

YORK




FOREWORD The "Modern Ukulele Method" makes available to the ukulele enthusiast an up-to-date, thorough course of instruction in both the fundamentals of music and the technique of ukulele playing. May Singhi Breen, the author of this method, has long been recognized as one of the outstanding exponents of the ukulele. She is a top-flight performer on radio, records and television. Many will recall her radio programs (WJZ and NBC) on which she and her husband, Peter De Rose, the well-known composer, appeared for 16 consecutive years as the "Sweethearts Of The Air." She has also been very active in teaching the ukulele through private and group instruction. During her long association with radio, she became known around the studios as "The Ukulele Lady" and has been referred to by this nick-name ever since. In view of her great enthusiasm for the ukulele, the nick-name couldn't have been more appropriate. She has devoted much time and effort toward having the ukulele recognized as a legitimate musical instrument. It was through her efforts that a ukulele arrangement appears on almost all printed copies of popular music. She has also been instrumental in the acceptance of the Universal (D) Tuning (used throughout this book) as the standard tuning for ukulele by music publishers and ukulele manufacturers. May Singhi Breen's wide experience as a performer and teacher of ukulele particularly qualifies her to write a method of this type. Therefore we offer this t his Modern Ukulele Method in the belief that its thorough study will add greatly to the pleasure you derive from playing the ukulele. THE PUBLISHERS




For personal educational purposes only

MAY SINGHI BREEN UKULELE GROUPS





"THE UKULELE LADY" SPEAKS The Ukulele (pronounced OO-KOO-LAY-LAY), a typical Hawaiian instrument, is defined in the dictionary as a 'diminutive guitar'. It was first produced in Hawaii, sometime between 1877 and 1879, by a Portuguese cabinet maker, Michael Nunez, who patterned it after a small Portuguese guitar. It was so small, in comparison to the guitars the natives were used to playing that, when they first played it, their fingers and hands sort of 'skipped off' the small keyboard. That's why it is called 'Ukulele', meaning "jumping flea." Before Michael Nunez died in 1923, he did not realize that some day his little invention would become recognized as a real musical instrument. Its simplicity makes it easy for anyone to learn in a short time. However, we have gone much further with the study of the Ukulele in these United States and have discarded the idea that the Ukulele is just an accompaniment instrument. With study and practice you too will recognize it as a solo instrument. My slogan has always been "UKE CAN PLAY THE MELODY." Through the medium of radio, in 1923, its popularity reached such heights that it was necessary to print Ukulele arrangements on all popular sheet music. Unfortunately the market was flooded with cheap instruments which did not give forth the music intended. Good instruments have always been manufactured and those outstanding in the "Twenties" still lead in the field for quality. However, modern production methods and the use of plastics have brought fine instruments within the price range of everyone's purse. Nylon strings are also a boon to the Ukulele player. In 1950, through the medium of Television and the one and only Arthur Godfrey (seeing is believing), the Ukulele is now called "the family instrument of America." It should head the list of every recreational program in schools, camps and Girls' and Boys' Clubs in educational centers. Group playing leads to enjoyment for young and old. Form clubs — play in groups — and watch the progress. I wish I could tell you of the many lasting friendships that have resulted through the medium of the groups pictured on page 3 which I had the pleasure of forming and training. Any small child who has studied the most elementary music for the piano can pick out simple melodies in the treble clef on the Ukulele. The simple duets I have included at the end of this book have actually been performed by children of six or seven years old. They are arranged with diagrams here so all may enjoy them. This method has been prepared for self-study. Whether you are a beginner or an advanced student, a musician, or one who plays instinctively (by "ear"), you will find all you need within these pages. I hope you will derive as much pleasure out of this book as I did compiling it for you, and I wish to thank the publisher, Robbins Music Corporation, for granting me the permission to use the collection of world-wide hits contained herein. When you have learned all the chords, don't forget, "UKE CAN PLAY THE MELODY." Please let me know how you like it.





RUDIMENTS OF MUSIC It is not necessary to be a'trained musician in order to play the Ukulele. A visual diagram system is used for those who do not read music. But for those who wish to read music, we are including this short chapter dealing with the rudiments of music.

ELEMENTARY PRINCIPLES OF MUSIC The Staff upon which music is written consists of five horizontal, parallel lines and the four spaces between them. When tones higher or lower than those on the staff are needed, short lines, called "leger" lines, are used above or below the staff.

Notes — Musical sounds are represented by characters called notes. They indicate sounds and their duration, and are written on the lines or in the spaces of the staff.

Ukulele music is always written in the Treble Clef. This sign establishes the note "G" on the second line of the Staff, and from it, all other notes either higher or lower in pitch are determined. The first seven letters of the alphabet are used for naming the lines and spaces. Therefore, when we have used those seven letters in a consecutive series of sounds and wish to continue the series, we must repeat from the first letter of the series and continue as before.





NOTES AND RESTS AND THEIR RELATIVE VALUES Seven characters determine the value of notes. Seven characters determine the value of rests.

BARS AND MEASURES A bar is a vertical line drawn across the staff dividing it into equal measures of time.

A measure is the space between two bar lines on a staff. Double bars are placed at the beginning and end of a verse or strain.

One light and one heavy bar denotes the end of the entire composition.

Two dots before or after a light and a heavy bar mean to repeat all measures between these signs.

means to repeat from this sign.





ACCIDENTALS

SCALES A Scale consists of eight (8) tones in alphabetical order, beginning and ending with the same letter. Example: a, b, c, d, e, f, g, a. These tones are called "scale degrees" and are numbered 1, 2, 3,4 , 5, 6, 7, 8. They are also defined as a succession of tones belonging to a specific key. SCALES may be either Diatonic or Chromatic. DIATONIC SCALES may be either Major or Minor. The Major and Minor Scales alternate between half and whole steps according to their individual characteristics. A MAJOR Scale is a series of whole steps and half steps. The half steps fall between the 3rd and 4th notes and the 7th and 8th notes, either ascending or descending. All other notes in the Major Scale have whole steps between them. MINOR SCALES: There are two forms of the Minor Scale in common use, "Harmonic" and "Melodic" Minor. In the HARMONIC Minor, the half steps fall between the second and third, fifth and sixth, and, seventh and eighth degrees, both in ascending and descending. In the MELODIC Minor, the half steps fall between the second and third, and seventh and eighth degrees ascending; and, between the sixth and fifth, and third and second descending. CHROMATIC SCALE. A Chromatic Scale is made up entirely of half steps (or semi-tones). (Since we learn later that the Scale of D is the principal scale on the Ukulele, turn to Page 12 Diagram of Uke Fingerboard.)





TIME SIGNATURES Signs or figures in fractional form given at the beginning of a musical composition are called "TIME SIGNATURES."

The most frequently used time signatures are: COMMON TIME means that each measure contains one whole note, four quarter notes or their equivalent. Common time is also written with the signature 4/4.

KEY SIGNATURES





SIGNATURES OF SHARP KEYS

SIGNATURES OF FLAT KEYS

CYCLE OF KEYS AND MAJOR CHORDS

Enharmonic change Meaning a different notation of the same sound.





YOUR UKULELE





HOW TO TUNE THE UKULELE With The Piano

UKULELE PITCH-PIPE TUNER

Two More Ways To Tune By Ear

THE STAR SPANGLED BANNER





THE UKULELE FINGERBOARD Each string passes through a groove in the nut to the pegs.

All standard size Ukuleles have at least 12 frets. Some have as many as 16 frets. Each fret has a value of one half-tone or half-step. The black dots shown on the fingerboard are the fret markers. They are not always used in this form. Sometimes a white dot or a white line or a small design is used. They are used as a visual aid to the player for locating the 3rd, 5th, 7th, 10th and 12th frets.





NOTES ON THE UKULELE FINGERBOARD (Vertical lines indicate the frets) (Ukulele Keyboard reading left to right) The letter "o" means the note of the open string; numbers under notes indicate the fret to be pressed. There is a difference of one half-step between each fret.

To avoid confusion, the notes on the A or 4th string are written an octave lower than they sound.

CHROMATIC SCALE

Starting with the third string (open D) we demonstrate the notes in the chromatic scale. Numbers under the notes are the frets to press; the string to be pressed is indicated above the staff. Starting with the open 4th string, play each note separately as written below and try to remember their positions on the fingerboard.

PRINCIPAL SCALE

D MAJOR

and location of Notes on Ukulele (See page 15)





HOW TO HOLD THE UKULELE





STOP! READ! Explanation of UKULELE DIAGRAMS

The black dots designate the strings to be pressed. Strings without dots are open and should be played unless marked otherwise. Numbers next to dots indicate which finger of the left hand should press the string.





SYMBOLS AND WHAT THEY MEAN Fingers of the Right Hand are numbered as follows:

Felt Ukulele Pick Hold Between Thumb & 1st Finger

Black dots on diagrams indicate which fret and string to press. After a letter is abbreviation for Minor. 'Down Stroke. Up Stroke. When written together it means to play down-up for 1 beat on chord so marked. Pick the melody note with thumb of right hand, striking only the string marked with X. Open string—when it appears over a string in a diagram.





Glissando. (This sign will be used to indicate sliding from one chord position to the other.)

Omit playing the string thus marked.

The small bar indicates two strings are to be held down with one finger.

The large bar indicates that all of the strings are to be held down with one finger.

The numbers found beside or above the dots indicate the fingers used to hold this string down. The numbers found at the left of the diagram are the fret numbers.

COMMON STROKE (To be used with or without Felt Pick) (See Page 27 for advanced strokes) Wrist and fingers must be flexible for good tone.

Common stroke is recommended for the beginner. Do not move wrist up and down, but strike downward with the index finger of the right hand from the knuckle, going down on the back of the nail, and following upward on the fleshy cushion of the same finger.





FUNDAMENTAL CHORDS IN MAJOR & MINOR KEYS Chords in G major

Chords in E minor (relative to G major)

Chords in D major

Chords in B minor (relative to D major)





FUNDAMENTAL CHORDS IN MAJOR & MINOR KEYS (Continued)















Three ways to form MAJOR Chords 1st FORMATION





Four Ways to form DOMINANT SEVENTH Chords













LEARN TO PLAY IN ANY KEY Here are a few tips on how to practice; also which chords to practice so as to limber all fingers and make it easy to play in any key. Let's start with the G chord — thus Now just for fun play it again and use this fingering

After you have practiced this fingering, barre the 1st fret with the index finger of the left hand. Then, add the 2nd finger to the 2nd string on the 2nd fret and the 3rd finger to the 4th string on the 3rd fret. In other words, the 2nd and 3rd fingers are now fingering the G chord formation, but since everything has been moved up one fret, we are now playing the Ab chord (one half tone higher than the G chord). With a little practice you will find this will be just as easy as any other position. PRACTICE MAKES PERFECT!! This exercise was suggested by Mr. Mario Maccaferrio, well known Concert Guitarist, whose ingenious ideas have been greatly responsible for the recog- nition of the Ukulele as a legitimate musical instrument. Now use the same chord position and move up the fingerboard in halftone progressions thus:

Don't be a "3-KEY" player. It is i s true that the keys of D Major, G Major and A Major are the most popular keys with beginners, but with a little practice the other keys are just as easy to play.





STROKES Bring the first finger of the right hand downward, striking the strings with the back of the nail; then bring the finger upward striking the strings with the fleshy cushion of the finger.

Use only the first finger of the right hand.

Use only the first finger of the right hand.

This stroke employs the thumb and first finger (indicated under the notes).

This stroke employs the thumb, first and fourth fingers as indicated.

Start the roll with down-up with 1st finger. Then, starting with 4th finger, follow in quick succession with the 3rd, 2nd, 1st and thumb. Play across all the strings but sort of flick each finger. Keep the wrist relaxed. Be careful not to move the wrist and have only the fingers do the work. End the roll with up-down-up with first finger as indicated.

The tremolo is used for continual strumming sometimes called the "organ effect." With bent wrist, shake the fingers quickly and steadily, but permitting only the 1st finger to strike the strings. This is a very effective stroke and you will find you can use it with much shading and expression.





WONDERFUL ONE Words by DOROTHY TERRISS

Music by PAUL WHITEMAN FERDE GROFE Adapted from a Theme by

Copyright 1922 Leo Feist, Inc., 799 Seventh Avenue, N ew York, N. Y. Copyright renewal 1950 Leo Feist, Inc., 799 Seventh Avenue, New York, N. Y. Copyright 1950 Leo Feist, Inc., 799 Seventh Avenue, New York, N. Y. International Copyright Secured Made in U. S. A. All Rights Reserved Including Public Performance For Profit. Any arrangement or adaptation of this composition without the consent of the owner is an infringement of copyright









THAT LUCKY OLD

SUN

(Just Rolls Around Heaven All Day) Lyric by HAVEN GILLESPIE

Music by BEASLEY SMITH

Copyright 1949 Robbins Music Corporation; 799 Seventh Avenue, New York, N. Y. Copyright 1950 Robbins Music Corporation, 799 Seventh Avenue, New York, N. Y. International Copyright Secured Made in U. S. A. All Rights Reserved Including Public Performance For Profit Any arrangement or adaptation of this composition without the consent of the owner is an infringement of copyright









BLUE MOON Lyric by LORENZ HART

Music by RICHARD RODGERS

Copyright 1934 Metro-Goldwyn-Mayer Corporation, New York, N. Y. Copyright assigned 1934 to Robbins Music Corporation, 799 Seventh Avenue, N. Y. for United States & Canada Copyright 1950 Robbins Music Corporation, 799 Seventh Avenue, New York, N. Y. International Copyright Secured Made in U. S. A. All Rights Reserved Including Public Performance For Profit Any arrangement or adaptation of this composition without the consent of the owner is an infringement of copyright









SAM, THE OLD ACCORDION MAN Words and Music by

Copyright 1927 Leo Feist, Inc., 799 Seventh Avenue, New York, N. Y. Copyright 1950 Leo Feist, Inc., 799 Seventh Avenue, New York, N. Y. International Copyright Secured , Made in U. S. A. All Rights Reserved Including Public Performance For Profit Any arrangement or adaptation of this composition without the consent of the owner is an infringement of copyright i









DEEP PURPLE Words by MITCHELL PARISH

Music by PETER DE ROSE

Copyright 1934 Robbins Music Corporation, 799 Seventh Avenue, New York, N. Y: Copyright 1939 Robbins Music Corporation, 799 Seventh Avenue, New York, N. Y. Copyright 1950 Robbins Music Corporation,-799 Seventh Avenue, New York, N. Y. International Copyright Secured Made in U. S. A. AM Rights Reserved Including Public Performance For Profit Any arrangement or adaptation of this composition without the consent of the owner is an infringement of copyright








38


From the M-G-M Picture "THE WIZARD OF OZ"

OVER THE RAINBOW

Lyric by i.Y. HARBURG

Music by HAROLD ARLEN

Copyright 1939 Leo Feist, Inc., 799 Seventh Avenue, New York, N. Y. Copyright 1950 Leo Feist, Inc., 799 Seventh Avenue, New York, N. Y. International Copyright Secured Made in U. S. A. All Rights Reserved Including Public Performance For Profit Any arrangement or adaptation of this composition without the consent of the owner is an infringement of copyright









Dedicated to M. R. M.

BEAUTIFUL GOLDEN STRAND (Where we spent the most wonderful vacation we ever had) Lyric by Music by MAY SINGHI BREEN PETER DE ROSE

Copyright 1949 Miller Music Corporation, 799 Seventh Avenue, New York, N. Y. Copyright 1950 Miller Music Corporation, 799 Seventh Avenue, New York, N. Y. International Copyright Secured Made in U. S. A. All Rights Reserved Including Public Performance For Profit Any arrangement or adaptation of this composition without the consent of the owner is an infringement of copyright









SANTA CLAUS IS COMIN' TO TOWN Words by HAVEN GILLESPIE

Music by J. FRED COOTS










IF I HAD YOU

by TED SHAPIRO JIMMY CAMPBELL and REG. CONNELLY

Copyright 1928 for all countries by Campbell, Connelly & Co., Ltd., London, England Copyright assigned 1928 to Robbins Music Corporation, 799 Seventh Avenue, New York, N. Y. Copyright 1950 Robbins Music Corporation, 799 Seventh Avenue, New York, N. Y. International Copyright Secured Made in U. S. A. All Rights Reserved Including Public Performance For Profit Any arrangement or adaptation of this composition without the consent of the owner is an infringement of copyright









From the M-G-M Picture "SADIE McKEE"

ALL I DO IS DREAM OF YOU Lyric by ARTHUR FREED

Music by NACIO HERB BROWN

Copyright 1934 Metro-Goidwyn-Mayer Corporation, New York, N. Y. Copyright assigned 1934 to Robbins Music Corporation, 799 Seventh Avenue, New York, N. Y. for United States & C anada Copyright 1950 Robbins Music Corporation, 799 Seventh Avenue, New York, N. Y. International Copyright Secured Made in U. S. A. All Rights Reserved Including Public Performance For Profit Any arrangement or adaptation of this composition without the consent of the owner is an infringement of copyright









The following are ukulele arrangements of "All I Do Is Dream of You," given in four different keys. These will provide interesting material for practise in glissando effects between Various Dominant Seventh Chords.









MY BLUE HEAVEN Words by GEORGE WHITING

Music by WALTER DONALDSON My Blue Heaven is given in the key of Eb to give the student practise in clear sliding tones and glissando effects. Nearly all the chords require the first finger barred across all the strings. This practise will be very helpful when playing ukulele Solos.

Copyright 1927 Leo Feist, Inc., 799 Seventh Avenue, New York, N. Y. Copyright 1950 Leo Feist, Inc., 799 Seventh Avenue, New York, N. Y. International Copyright Secured ,

All Rights Reserved Including Public Performance For Profit

Made in U. S. A.

Any arrangement or adaptation of this composition without the consent of the owner is an infringement of copyright









JUST AN ECHO IN THE VALLEY Before playing this song study page 26

by

Copyright 1932 for all Countries by Campbell, Connelly & Co., London, England . Publication Rights for United States & Canada assigned 1932 toRobbins Music Corporation, 799 Seventh Avenue, New York, N.'Y. Copyright 1950 Robbins Music Corporation, 799 Seventh Avenue, New York, N. Y. International Copyright Secured

Made in U. S. A. All Rights Reserved Including Public Performance For Profit

Any arrangement or adaptation of this composition without the consent of the owner is an infringement ofcopyright








54


From the M-G-M Picture "THE NIGHT IS YOUNG"

When I Grow Too Old To Dream Lyric by OSCAR HAMMERSTEIN II

Music by SIGMUND ROMBERG

Copyright 1935 Metro-Goldwyn-Mayer Corporation, New York, N. Y. Copyright assigned 1935 to Robbins Music Corporation, 799 Seventh Avenue, New York, N. Y. for United States & Canada Copyright 1950 Robbins Music Corporation, 799 Seventh Avenue, New York, N. Y. International Copyright Secured Made in U. S. A. Ail Rights Reserved Including Public Performance For Profit Any arrangement or adaptation of this composition without the consent of the owner is an infringement of copyright





M-I-S-S-I-S-S-I-P-P-I Lyric by BERT HANLON and BENNY RYAN

Melody by HARRY TIERNEY

Copyright 1916 Leo Feist, Inc., 799 Seventh Avenue, New York, N. Y. Copyright renewal 1944 Leo Feist, Inc., 799 Seventh Avenue, New York, N. Y. Copyright 1950 Leo Feist, Inc., 799 Seventh Avenue, New York, N. Y. International Copyright Secured ' Made in U. S. A. Ail Rights Reserved Including Public Performance For Profit Any arrangement or adaptation of this composition without the consent of the owner is an infringement of copyright





GLISSANDO EFFECTS Glissando. (This sign will be used to indicate sliding from one chord position to the other.) Every time you take your finger off the strings to play another chord position, you break the tone (or, disconnect the sound). Sliding from one chord formation to another connects them so that there will be little or no pause in the sound. EXERCISE 1 Here is the first exercise recommended for perfecting the slide tones.

When you slide back from the A chord (diagram 1) lift the 3rd finger and slide back quickly to the "A diminished" position without releasing the 1st and 2nd fingers which must always be held firmly against the strings. When you have mastered the above exercise try: EXERCISE 2

From diagram 3 to 4 turn the wrist and 1st finger to a more vertical position and slide quickly to the 3rd fret. You must keep playing the same stroke you are using with the right hand or the effect will be lost. Try changing from one diagram to the other in exercise 2 but practice doing it with only one beat to a chord. (In other words Down-up). The common stroke is really the best way to practice this exercise.

When you make your slide, release the 2nd finger and slide 1st finger to the 4th fret. Then quickly press the 2nd finger on the 3rd string at the 5th fret. This is the 2nd position of Eb 7 Continue strumming while you slide. When the 1st position of a chord is different in formation from the next position, form the position you are going to slide to before you start to slide. Examples:





UKULELE SOLOS "UKE CAN PLAY THE MELODY" Ukulele solos are based on combining the melody of a composition with the harmony. Before you attempt to play the solos in this book it is advisable to carefully review the pages which show 1st, 2nd and 3rd formations of the chords. (Pages 22 and 23) You must know your symbols ( page 16 ) and study the accompaniment instructions on this page. The chord arrangements of "ALL I DO IS DREAM OF YOU" {Pages 46-7-8-9) are excellent basic exercises for solos. You'll find the chords for this song in five keys. This is done for practice in the "Glissando" so you may learn to apply it before you try the solos. Another song which gives the preliminary exercises in sliding tones is "GOODNIGHT SWEETHEART" in the key of A major ( Page 58 ). When playing the solo arrangements strum from one diagram to another unless the. rhythm is interrupted by a notation to pick a note. Sound all strings unless there is a special symbol used (see page for symbols).

HOW TO READ DIAGRAMS COMBINING MELODY AND ACCOMPANIMENT When a picked note is to be followed by a chord accompaniment, the melody note will be shown on a diagram that is larger than the accompaniment. The smaller diagram is to be played with a "Down-up" stroke as many times (or beats) as indicated bv a number under it.

Ex. 1. The X represents the melody note A (open 4th string) followed by 2 beats of the D major chord played with a down-up stroke on each beat.

Ex. 2. The X here represents the melody note A (open 4th string) followed by 2 beats of the A7th played with down-up stroke on each beat.

Examples 3 and 5 sound the same but are written differently. It makes it easier to form the chord first but only pick or sound the string marked with X. The same applies to examples 4 and 6.




58


GOOD NIGHT SWEETHEART

American Version by RUDY VALLEE

by RAY NOBLE JIMMY CAMPBELL REG CONNELLY

Copyright 1931 for all Countries by Campbell, Connelly & Co., London, England Copyright assigned 1931 to Robbins Music Corporation, 799 Seventh Avenue, New York, N. Y., for United States & Canada Copyright 1950 Robbins Music Corporation, 799 Seventh Avenue, New York, N. Y. International Copyright Secured Made in U. S. A. All Rights Reserved Including Public Performance For Profit Any arrangement or adaptation of this composition without the consent of the owner is an infringement of copyright









UKULELE CHOP STICKS UKULELE SOLO MAY SINGHI BREEN

Copyright 1950 Robbins Music Corporation, 799 Seventh Avenue, New York, N. Y. International Copyright Secured Made in U. S. A. All Rights Reserved Including Public Performance For Profit Any arrangement or adaptation of this composition without the consent of the owner is an infringement of copyright





ALOHA OE Farewell To Thee UKULELE SOLO

by QUEEN LILIUOKALANI






FOREVER AND EVER Lyric by MALIA ROSA

UKULELE SOLO

Music by FRANZ WINKLER

Copyright 1947 by Musikvertrieb A. G. Zurich Copyright assigned 1948 to Robbins Music Corporation, New York, N. Y. for the entire world except Switzerland and Austria Copyright 1948 Robbins Music Corporation, 799 Seventh Avenue, New York, N. Y. Copyright 1950 Robbins Music Corporation, 799 Seventh Avenue, New York, N. Y. International Copyright Secured Made in U. .S. A. All Rights Reserved Including Public Performance For Profit Any arrangement or adaptation of this composition without the consent of the owner is an infringement of copyright









THE WALTZ YOU SAVED FOR ME Lyric by GUS KAHN

UKULELE SOLO

Music by WAYNE KING










ON THE BEACH AT WAIKIKI Lyric by G. H. STOVER

UKULELE SOLO

,

Music by HENRY KAILMAI

Copyright 1915 by Bergstrom Music Co. Ltd. Copyright renewal 1943 Miller Music Corporation, New York, N. Y. Copyright 1950 Miller Music Corporation, New York, N. Y. International Copyright Secured Made in U. S. A. All Rights Reserved Including Public Performance For Profit Any arrangement or adaptation of this composition without the consent of the owner is an infringement of copyright





From the M-G-M Picture "THE PAGAN"

67

PAGAN LOVE SONG lyric by ARTHUR FREED

Ukulele Solo

Music by

NACIO HERB BROWN

Copyright 1929 Metro-Goldwyn-Mayer Corporation, New York, N. Y. Copyright assigned 1932 to Robbins Music Corporation, 799 Seventh Avenue, New York, N. Y. for United States & Canada Copyright 1950 Robbins Music Corporation, 799 Seventh Avenue, New York, N. Y. International Copyright Secured Made in U. S. A. All Rights Reserved Including Public Performance For Profit Any arrangement or adaptation of this composition without the consent of the owner is an infringement of copyright





Dedicated to "UKE-KIDS"

MARY HAD A LITTLE LAMB

*The writer has included two Kiddy Duets in this book and they are written exactly as they were performed for me by a boy and girl, ages six and seven. I was very impressed with their performance and I am sure there must be others who would like to try these duets. Chords diagrams for the accompaniment are written above the staff and the melody diagrams are placed under the staff. Each note of the melody is picked separately on the string marked with an X and at the fret or open string so marked. Copyright 1950 Robbins Music Corporation, 799 Seventh Avenue, New York, N. Y. International Copyright Secured Made in U. S. A. All Rights Reserved Including Public Performance For Profit Any arrangement or adaptation of this composition without the consent of the owner is an infringement of copyright





TWINKLE TWINKLE LITTLE STAR Ukulele Duet—for "Uke Kids"






When The Moon Comes Over The Mountain Test Your Memory!!

by KATE SMITH

Copyright 1931 Metro-Goldwyn-Mayer Corporation, New York, N. Y. Copyright assigned 1932 to Robbins Music Corporation, 799 Seventh Avenue, New York, N. Y. for United States & Canada Copyright 1950 bobbins Music Corporation, 799 Seventh Avenue, New York, N. Y. International Copyright Secured Mode in U. S. A. All Rights Reserved Including Public Performance For Profit Any arrangement or adaptation of this composition without the consent of the owner is an infringement of copyright







Ukulele Lady Tutor

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